The Secrets of Velocity, Keytracking and Trigger Random in Massive: Part 3
In the third part of this in depth series, Johnny goes over the benefits of keytracking and how to apply it to your sounds.
I don’t know if you’ve ever played a workstation like a Yamaha Motif or even some cheap Casio workstation, but you may have come across some patches that had splits. Or you may have read the manual (I know I didn’t) and learned out how to make the lower half of your keys one sound and then upper half of keyboard another sound. So for instance, the lower 3 octaves could be a cello sound and the top 3 octaves could be a violin. Johnny shows you how to do something similar in Massive.
If you have not seen the first two videos in this series you might want to double back and check them out now (Part 1 Part 2) so this tutorial will make a little more sense. Johnny applies keytracking to modulate the cutoff of an LFO while at the same time creating a variation in the sound depending on what note you play. C1 octave plays a different sound than the C3 octave and so forth. It might sound like wizardry, and it is, but the benefits of using keytracking in this way are plenty.
First, with a genre like dubstep, you can use one instance of Massive and have different sounding wobbles filling out your bassline depending on what octave you play a note in. It also opens up a whole new range of sounds for evolving patches like pads.
This tutorial will open new doors for your creativity in Massive. Although the concept might seem a little complicated, these three tutorials in this series should be more than enough to get you on your way of using the secrets of velocity, keytracking and trigger random to your advantage.